In contrast, an analog tape obviously needs hit harder for it to saturate, either by pushing the input into the red or aligning the machine to a hotter zero reference (like +14 above 200nW for crunch guitars).
On a compressor or peak limiter this is done by reducing the gain of the input signal, and therefore an amplifier “make-up” stage is needed to bring the signal back to unity gain. Compression of any kind reduces the peak to average ratio. I think my point is valid, even if I didn’t express clearly enough. Perhaps 'Gestalt' would have been a better name.Īllen, I certainly did not mean to be offensive, and when I re-read my post, I can see that you are justified in thinking that I’m an. more 3 dimensional, more elastic, more glued, and there was a sheen of subtle vibrance that made the mix seem more alive, less flat sounding. It is hard for me to describe how it enhanced the mix. I can very easily imagine someone listening to this plugin and thinking, 'huh? I dont get it, it just made things louder?' And I will admit that I did not take notice of how beautiful this plugin was until I placed it on almost every track of a 36 track mix. Clogged ears or poor monitors can detract from hearing this plugin in its intended glory. if you are going to be giving this plugin a fair review, you might want to make sure you will be able to hear its most subtle effect, especially when auditioning it on a single track using Luminescent. If you think it's a waste, then you're deaf and/or are incomepetent enough to have a poor monitoring system. Mark, what I gather from your post is that if you like this plugin, you're an engineer with good ears and enough sense to have good monitors.
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